The Partisan Counter-Archive Retracing the Ruptures of Art and Memory in the Yugoslav People's Liberation Struggle

Foreword
Introduction: The “Primitive Accumulation” of Revisionist Memory: A Plea for the Partisan Counter-Archive
	From the “end of history” to the memorial speculation of a nation
	The dominant archive of Partisan Yugoslavia: Anti-totalitarianism, reconciliation and nostalgia
	A plea for a Partisan counter-archive: Partisans of the world, retrieve past fragments of and for an emancipatory future!
Chapter 1 The Three Impossibilities of the Partisan Counter-Archive: Politics, Art and the ­‘Anti-memory’ of Rupture
	1.1 The ancien régime of Yugoslavia prior to WWII: The “prison-house of nations” and economic exploitation
	1.2 World War II: Fascist occupation and the Partisan uprising
	1.3 The Antifascist Council for the People’s Liberation of Yugoslavia: The creation of the Partisan (anti-)state Yugoslavia in November 1943
	1.4 Partisan cultural revolution
	1.5 A theoretical note on the Partisan counter-archive
Chapter 2 Early Partisan Photography, Film and Poetry (1941–1945): An Oath to Past and Future Struggles
	2.1 Introduction: Armed struggle, armed memory
	2.2 The Partisan hunger for freedom
	2.3 The most emblematic Partisan images and gestures of resistance
	2.4 The poetic counter-archive: Geological research and an anthem to the future
		2.4.1 Poems of revolutionary temporality
		2.4.2 Geology encounters Poetry: Comradeship is bigger than war?
		2.4.3 A poem of the “last” struggle
		2.4.4 One anthem splits into many: Agitators, women, struggle
	2.5 Between Partisan film documents and Partisan film “by other means”
		2.5.1 Partisan film cases: Lost forever or found after the end?
		2.5.2 Partisan sounds of resistance as the first film inscription
		2.5.3 Partisan candid camera
		2.5.4 Partisan film = photo exhibition + literary script
		2.5.5 Photo exhibitions with filmic effect
		2.5.6 Partisan film = design + poetry
		2.5.7 The liberation of Zagreb, the liberation of cameras
Chapter 3 Continuing the Partisan Rupture by Other Means: From Black Wave Films to Late Modernist Monuments to Revolution (1960s–70s)
	3.1 Introduction: Partisan struggle as a dominant artistic genre
	3.2 Against state mythologisation: Partisan film between impossibility and collective memory-making
		3.2.1 Žilnik’s Uprising in Jazak (1973): How to make film in a Partisan way, or on the “banality of good”
		3.2.2 Popović’s Tough Ones (1968): A tough integration of the Partisan surplus
	3.3 Monuments to the People’s Liberation Struggle: Revolution reloaded
		3.3.1 Monument to revolution, again
		3.3.2 The Kozara and Tjentište memorial sites: From resistant and asymmetrical circles to formal rupture
Chapter 4 Undoing the Partisan Counter-Archive? From Nationalist(ic) Reconciliation to the Rehabilitation of Fascism
	4.1 The new “realm of memory”: A commemoration to victims of totalitarian violence
	4.2 National reconciliation: Ljubljana’s Monument to the Victims of All Wars and its moral relativisation
	4.3 From victims to heroes: The open rehabilitation of local fascism in Grahovo
	4.4 From antifascism to anti-totalitarianism: Brussels’ new pan-European memorial
Conclusion: Retrieving the Counter-Archive Beyond Yugoslavia
Afterword Concrete utopia lasts forever – Branko Miljković’s Yugoslavia
Bibliography
	Academic Literature
	Filmography
		Recent post-Yugoslav and Yugoslav film (partisan, critical, documentary focus)
	Mentioned partisan films and material from WWII
	Online material relating to revisionist monuments / memory
	Commemoration speeches
	EU totalitarian revisionist process
	Online sites related to the mentioned concentration camps, casualties of WWII, and collaborationist groups
	Online accessible avant-garde and partisan poems/songs
	Sources from the Archive of Republic Slovenia (Ljubljana) and Archive of Museum of Contemporary History (Ljubljana)
	Online sources for the counter-archive
Index